Istad is working with photography, video and installation.
The camera is my tool for finding painterly motifs: I like the fact that they are based on reality. That’s the difference between painting and photography: in the photo, painterly aspects can be discovered in the reality, in the excerpts. You just need to discover them.
My pictures often spring from a discovery of something striking in my immediate surroundings. The important things are rhythm, depth, surface, colour harmony and the balance between forms. And I always try to move on and not repeat myself. My goal is to find the optimal motif. The photographs and videoes are taken as you see them. They are not manipulated.
"Istad's video works are often about ephemeral and essential moments on a detailed level. As is the case in her photographs, the observer is again presented with an in-depth study of small fragments of reality. Even though the videos contain a number of different themes, a recurring issue is the artist's interest in water and fluids and with this in mind, Istad investigates the video's formal qualities as a recorder of living images. One example of this can be found in one of her works from Japan: a close-up study of rippling water in a little pond in a Japanese temple garden in Koyoto which is presented as a "moving still frame". Even though the motif encompasses dynamic movement, it looks in many ways like a photograph since no new elements or incidents occur during the running-time of the video." by art historian Janicke Iversen